IPS 3525 
.05613 

E3 -.ernational Copyrighted (in England, her Col- 
Li QO<7 5, and the United States) Edition of the 
1922 Works of the Best Authors 

p A lllllllllMIMMIIIIMIIIIIIIIIHIIIIIIllllllllllllllllllllllllllllllllllllllllllllllltrillllllMIIIMIMIIIUIIIIIIIIIIIIIIMIIIIIIU 



No. 445 



THE ECLIPSE 

A COMEDY IN ONE ACT 

BY 
McELBERT MOORE 

(With a bow to Clayton E. Gibbs) 



All Rights Reserved 
Copyright, 1922, by Samuel French 



Price 30 Cents 



New York 

SAMUEL FRENCH 

Publisher 

28-30 West 38th Street 



London 

SAMUEL FRENCH, Ltd. 

26 Southampton Street 

STRAND 



-.IIIIIIUIIIIIIIIIIIIIIIlllllNlltllllllllllllllMlllllllllllllllllllllllllllllllllllllllllllllllinillllllllllMlllllllllllllllllllllllMIIIIMIIIIIIIIIIIIIIilllllir 






THE REJUVENATION OF AUNT MARY. 

The famous comedy in three acts, by Anne Warner. 7 males, 6 
females. Three interior scenes. Costumes modern. Plays 2J4 hours. 

This is a genuinely funny comedy with splendid parts for ' Aunt 
Mary," "Jack," her lively nephew; "Lucinda," a New England an- 
cient maid of all work; "Jack's" three chums; the Girl "Jack" loves; 
"Joshua," Aunt Mary's hir«ed man, etc. 

"Aunt Mary" was played by May Robson in New York and on tour 
for over two years, and it is sure to be a big success wherever pro- 
duced. We strongly recommend it. Price, 60 Cents. 



MRS. BUMSTEAD-LEIGH. 

A pleasing- comedy, in three acts, by Harry James Smith, author of 
"The Tailor-Made Man." 6 males, 6 females. One interior scene. 
Costumes modern. Plays 2% hours. 

Mr. Smith chose for his initial comedy the complications arising 
from the endeavors of a social climber to land herself in the altitude 
peopled by hyphenated names — a theme permitting innumerable com- 
plications, according to the spirit of the writer. 

This most successful comedy was toured for several seasons by Mrs. 
Fiske with enormous success. Price, 60 Cents. 



MRS. TEMPLE'S TELEGRAM. 

A most successful farce in three acts, by Frank Wyatt and Wil- 
liam Morris. 5 males, 4 females. One interior scene stands through- 
out the three acts. Costumes modern. Plays 2J4 hours. 

"Mrs. Temple's Telegram" is a sprightly farce in which there is 
an abundance of fun without any taint of impropriety or any ©le- 
nient of offence. As noticed by Sir Walter Scott, "Oh, what a 
tangled web we weave when first we practice to deceive." 

There is not a dull moment in the entire farce, and from the time 
the curtain rises until it makes the final drop the fun is fast and 
furious. A very exceptional farce. Price, 60 Cents. 



THE NEW CO-ED. 

A comedy in four acts, by Marie Doran, author of "Tempest and 
Sunshine," etc. Characters, 4 males, 7 females, though any number 
of boys and girls can be introduced in the action of the play. One 
interior and one exterior scene, but can be easily played in one inte- 
rior scene. Costumes modern. Time, about 2 hours. 

The theme t*f this play is the coming of a new student to the col- 
lege, her reception by the scholars, her trials and final triumph. 

There are three especially good girls' parts, Letty, Madge and 
Estelle, but the others have plenty to«do. "Punch" Doolittle and 
George Washington Watts, a gentleman of color, are two particularly 
good comedy characters. We can strongiy recommend "The New 
Co-Ed" to high schools and amateurs. Price, 30 Cents, 

(The Above Are Subject to Royalty When Produced) 
SAMUEL FRENCH, 28-30 West 38th Street, New York City 

New and Explicit Descriptive Catalogue Mailed Free on Rttaeai 



THE ECLIPSE 



A COMEDY IN ONE ACT 



BY 



McELBERT MOORE 

(With a bow to Clayton E. Gibbs) 



All Rights Reserved 
Copyright, 1922, by Samuel French 



New York 

SAMUEL FRENCH 

Publisher 

38-30 West 38th Street 



London 

SAMUEL FRENCH, Ltd. 

26 Southampton Street 

STRAND 



b ^3 



©CI.D 62974 



DEC -2 i922 



All Rights Reserved 

"THE ECLIPSE" is fully protected by copyright, and all 
rights are reserved. 

Permission to act, to read publicly, or to make any use of 
this play must be obtained from Samuel French, 28-30 West 
38th Street, New York. 

It may be presented by amateurs upon payment of a royalty 
of five dollars for each performance, payable to Samuel 
French one week before the date when the play is given. 

Professional rates quoted on application. 

Whenever this play is produced the following notice must 
appear on all programs, printing and advertising for the play: 
"Produced bv special arrangement with Samuel French of 
New York." ' 



£ CO 

Q. 

z — 

o _ j 



o UJ 







To 
ERIN O'BRIEN-MOORE 



THE CAST 

Allan Kemp An artist 

Reynolds His man 

Irene A model 



4 



THE ECLIPSE 

Scene: Kemp's studio in New York. 

Time : The present. 

It is the studio of a successful artist. At the back 
left there is a skylight. In front of this, at an 
angle, is an artist's easel, with chair, visible to 
audience. There are doors Right and Left. At 
back Right Center there is a huge fireplace, 
Italian style, and a divan facing it. Down stage 
Center there is a posing stand. To the Right 
of this is a comfy-chair and a small tea table. 

It is afternoon of a May day, present time. 

Discovered: Irene posing in something summerish. 
Allan Kemp, the artist, is at the easel. He is 
very nervous and his manner shozvs he is having 
difficulties. 

(Enter Reynolds Right with tea things which he 
places on table.) 

Allan. (Throwing down his brush) Oh! It's 
no use ! I can't do anything with it ! Irene, get 
your things and go home ! 

Irene. ( Not believing her ears) Go home ? 

Reynolds. But, sir, you promised Carter that 
drawing before you left! 

5 



6 THE ECLIPSE 

Allan. I can't help it, Reynolds! Carter'll have 
to wait. I'm too nervous now to finish it. And it 

isn't right — I'm forcing it — I — I Oh, I wish 

I could chuck the whole business ! (He exits l., with 
an angry stride. Irene starts to cry.) 

Reynolds. (Sympathetically ) Now, Miss Irene, 
I wouldn't cry. 

Irene. Oh Mr. Reynolds, he's angry and I know 
it's all my doin's! 

Reynolds. Nonsense ! 

Irene. But it's so ! He ain't never been like this 
before. This is the first nifty job he ever gave me 
and now — oh, Mr. Reynolds, honest I did my best! 

Reynolds. Sh! Of course you did! 

Irene. I — I wanted to please him because he's — 
wonderful ! You see he gives me 15 dollars for this 
and only five for the others — and now that Danny's 
sick it all helps an awful lot. 

Reynolds. I see. Now if you'll just dry those 
pretty eyes and sit here and try some tea, you'll 
find it soothing. 

Irene. But Mr. Kemp told me to go home ! And 
I don't wanta stay if he don't want me to. 

Reynolds. But I think you'd better. Miss Irene. 
You see, he's promised this before he leaves on his 
honeymoon to-morrow — and he keeps his word! 

Irene. Oh ! then perhaps I'd better stay. (Pause.) 
But he's angry and if he sees me here 

Reynolds. Yes — he mustn't see you — now. Sup- 
pose you sit on the divan until he— until his nerves 
are better. 

Irene. Sure. (Starts over, but sees tea.) Oh, 
Mr. Reynolds, have I got time for some? I'm thirsty 
as hell ! 

Reynolds. Miss Irene — you mustn't talk like 
that! 



THE ECLIPSE 7 

Irene. Excuse me, Mr. Reynolds, I wasn't think- 
in'. I ain't home now, am I ? 

Reynolds. Do you hear that at home? 

Irene. Sure ! Jerry — he's my brother — he 
wouldn't be able to talk if it wasn't for he — (Starts 
to say "hell," but checks herself.) — ha! ha! it looks 
as though I like to say it, don't it? (She starts to 
pour tea.) 

Reynolds. (Stopping her) Allow me, please, 
Miss Irene ! Let me take it to you on the divan ! 

Irene. (Runs over to divan, kneels on it and 
looks over it) Oh, Mr. Reynolds, you're awfully 
nice! 

Reynolds. (Giving her the cup) Thank you, 
Miss. 

Irene. Oh ! 

Reynolds. Yes, Miss? 

Irene. Would it be too much trouble for you to 
gimme my magazine — I'm reading a peach of a love 
story by Robert W. Chambers, all about 

Reynolds. (Getting magazine) No trouble at 
all, Miss Irene. 

Irene. And a sheet o' paper, an' a envelope — I 
gotta pencil! 

Reynolds. (Getting paper and envelope) There's 
nothing else, Miss? 

Irene. Gee, I guess I'm a pest alright, ain't I? 
An' you so busy with going away. When's Mr. 
Kemp coming back? (All this in one breath.) 

Reynolds. Mr. Kemp has not divulged the date 
of his return, Miss. (He hears Allan returning.) 
Mr. Kemp is coming. You'd better lie down. 

Allan. (Returning from h.) A bit of tea, Rey- 
nolds ! 

Reynolds. (Getting it) Yes, sir. 

Allan. Reynolds, why am I so damn nervous? 
(As he takes cup.) Thanks. 



8 THE ECLIPSE 

Reynolds. Well, sir, aren't you to be married 
to-morrow ? 

Allan. Of course, but what the devil has that to 
do with it ? 

Reynolds. Well, sir, if it were I 

Allan. It's only my first marriage! It it were 
my second, third, fourth — I'd know why I was 
nervous ! A man always gets nervous when his com- 
mon sense fails him ! 

Reynolds. You'll get over it to-morrow, sir. 

Allan. Hm ! Right now I've got an amateur's 
ease of stage fright. Reynolds, I'm scared ! Damn 
it, I'm scared. To-night I wanted peace — and look 
what I've got ! (He paces the floor nervously.) 

Reynolds. (Handling the chair) Why don't you 
take it easy, sir? This chair 

Allan. Chair? I can't sit, Reynolds. I'm too 

upset ! I've got to walk about the old place — I 

(He pauses and thinks.) That's why I'm nervous — 
the old place! — the thought of giving this up! 

Reynolds. Yes, sir — one does get attached to 
places like this. 

Allan. Reynolds, it's the last day — the last day! 
And all the memories link up in my dizzy mind to 
snap when I need the strength in them to carry me 
over one more day ! (Pause.) How I hate to 
leave ! 

Reynolds. I'll be sorry to leave, too, sir ! There 
have been many pleasant parties here, sir ! 

Allan. And many wild ones! Ha! ha! Rey- 
nolds, as long as I live I'll never forget the first time 
you got pickled here ! Ha ! ha ! 

Reynolds. (Shocked) Pickled, sir? 

Allan. Ha! ha! I'll say so! Everybody was 
happy, but you — oh, you were deliriously happy — 
and so considerate. You know it was a perfectly 
clear moonlight night, yet you insisted Mrs. Lamont 



THE ECLIPSE 9 

should wear your rubber boots home to protect her 
from rain and influenza ! Ha ! ha ! 

Reynolds. (Coughs, embarrassed, then changes 
subject) I — I have your trunks ready, sir ! 

Allan. Forgive me, Reynolds. I won't mention 
it again. Did you get most everything in them? 

Reynolds. Nearly everything, sir! There were 
some things I wasn't sure you'd want — er — now that 
you're going to be married, sir! 

Allan. Skeletons in the bachelor's closet, eh? 
Pictures and garters and trinkets, I suppose, from 
the sweet things that found me irresistible? 

Reynolds. Er — as it happens, sir, these are your 
ozvn things ! 

Allan. Oh ! 

Reynolds. I put them in your student trunk. 

Allan. That ! How time flies ! 

Reynolds. Shall you take it with you, sir? 

Allan. No, Reynolds — we can't be sentimental 
now about old junk! Er — what were the things? 

Reynolds. I — I'll fetch the trunk, sir, and you 
can look them over. 

Allan. Do. I'm curious. 

('Reynolds exits r. Allan sits in big chair, takes 
a cigarette. Irene looks over the top of divan, 
a magazine in one hand, a pencil in the other, 
she ducks back as Reynolds reappears with 
trunk.) 

Allan. (As Reynolds sets trunk down near 
him) Reynolds, isn't it a laugh ! I travelled four 
years in Europe with that. And to-morrow I leave 
on a two weeks' honeymoon with three big ones ! 
Ha! 

Reynolds. Yes, sir ! I'll make two piles, sir. 
Here to keep. There to discard. (He drazvs a white 



io THE ECLIPSE 

satin masquerade costume from the trunk and holds 
it up.) Now, sir, shall you keep this? 

Allan. What the ? Oh, yes, I remember. 

That was the suit I wore to the first masquerade 
dance I ever attended in Paris. Pure white satin! 
Huh! I must have looked stunning! And the con- 
quests I made that night ! (He blows a kiss.) But 
I wouldn't dare wear it now 

Reynolds. (Putting it in discard pile) You'll 
not keep it, sir. 

Allan. (Jumping up) By all means I'll keep 
it! That's symbolic of romance. Why, Reynolds, 
it was in that suit / was first proposed to! 
• Reynolds. Proposed to, sir ! 

Allan. By a little French girl who danced two 
hours with me, then begged me to raise my mask — 
and when I did she kissed me — fervently — on the 
lips ! Later she proposed — I knew she would. And 
I had a hell of a time refusing her. But it was good 
practice. Needless to say, I've improved since. 

Reynolds. You've always been quite attractive 
to women, sir. ('Allan smiles and gestures a mod- 
est disclaim.) It's a great gift, sir! Pve often 
wished I had it. 

Allan. Reynolds ! You ? Ha ! ha ! ha ! That's 
a good joke ! 

Reynolds. I know women never look at me twice, 
sir — but I could learn to 

Allan. Learn? Never! It's a matter of in- 
stinct, Reynolds. You must be able to place accu- 
rately the first look a girl gives you. If it's fear — 
sooth her. If it's modesty — respect her. If it's 
superiority — ignore her. If it's equality — trust her. 
And if it's 'come-on, brother!' — kid her! 

Reynolds. That's clever, sir — and original. Pve 
never heard anything so original ! 

Allan. Yes, I am rather proud of it. But the 



THE ECLIPSE n 

most important thing I haven't told you. To get on 
with women, Reynolds, you must flatter them ! Look 
at my canvases ! Not a line of truth in them ! Flat- 
tery — flattery, every inch! 

Reynolds. You're joking, sir! 

Allan. Joking? Ha! You've got to tell them 
all they're beautiful ! But subtly, cleverly. A wo- 
man hates direct compliments. She likes them when 
they're placed like light is in a Rembrandt. Rey- 
nolds, I'm like the sun to all these flowers who pose 
for me — for no matter who else cherishes them it is 
my magic that makes them all lift their sweet heads 
— and bow ! 

Reynolds. You mean, sir, they're all in love with 
you? 

Allan. (Patting him) Clever Reynolds ! (He 
moves aside and looks at drawing he is making.) 

Ha! Irene! A pretty little thing (Trene pops 

up and looks over top of divan.) Did you notice 
how quiet she was to-day, Reynolds? She's usually 
quite vivacious, but I suppose my going away's re- 
sponsible for the change, Hm ! Of course! ('Rey- 
nolds and Irene exchange glances. Irene is puz- 
zled.) Too bad I sent her home, it would have 
been rather nice to see how her type would lift its 
head and bow ! Ho ! ho ! ( Irene's puzzlement in- 
creases.) The poor kid, I suppose she's hopelessly 
in love with me! ("Irene starts and knocks her tea 
cup onto the floor, then she sits back out of sight in 
terror.) What the devil was that! 

Reynolds. I — I'm sorry, sir — -it's Miss Irene. 

Allan. Irene? Nonsense! I sent her home. 

Reynolds. I took the liberty of asking her to 
stay, sir. I thought you would need her to com- 
plete the drawing. 

Allan, Mm! 



12 THE ECLIPSE 

Reynolds. She cried herself to sleep, sir, on 
account of your telling her 

Reynolds. She can't be asleep now. (He calls.) 
Irene ! 

Irene. (Looking over top of divan) Yes, sir? 

Allan. Er — you've been asleep? 

Irene. (Getting off divan) Oh, Mr. Kemp, I'm 
awfully sorry about the cup. I couldn't help it — it 
just slipped when you — when I — (Lamely.) — woke 
up. 

Allan. I see. Well — er — it's all right, Irene, I — 

Irene. I guess I shouldn'ta stayed at all. but Mr. 
Reynolds (She looks at Reynolds.^ 

Allan. Yes, I know. And I'm very glad you 
did, Irene, — I 

Irene. I'll pay you for the cup if you'll tell me 
how much it is ! 

Allan. Just forget it, my dear. Accidents will 
happen. 

Irene. Won't they, though ! That one happened 
quick as hell — oh! 

Allan. Irene ! 

Irene. Gee ! there I go again. Mr. Kemp, honest 
I dint mean it. Mr. Reynolds knows I dint. It's 
Jerry's doin's — he's allays sayin' it — he's my brother ! 

Allan. He ought to know better! (Turns to 
easel and picks up brush.) Now, Irene, suppose we 
finish this drawing, I 

Irene. (Sees the trunk and white satin costume. 
She runs over and lifts costume) Oh ! What do 
you know about that? White satin pajamas! 

Allan. Ha ! ha — er — no, Irene, not quite ! That's 
an old masquerade costume of mine! Like it? 

Irene. Yes, sir. It's beautiful. Ain't you goin' 
to wear it any more? 

Allan. No, I'm through with it! 



THE ECLIPSE 13 

Irene . Gee, it'd make me the kind of a petticoat 
I've been dreamin' about for years ! 

Allan. I'd like to give it to you, Irene, but I've 
decided to keep it for my 

Irene. For your wife to make a petticoat out of ? 

f Reynolds- laughs and exits with tea things.) 

Allan. No — you see, I'm going to keep it as a 
souvenir of a little romance ! 

Irene. Oh ! say, and are you keeping this trunk 
for souvenirs like that? 

Allan. Yes. Don't you think it's a nice idea? 

Irene. Well, since you ask me I think it's a hel — 
er — a crazy idea! 

Allan. Huh? 

Irene. It's just like what my brother Jerry does 
and I think it's awfully silly! Of course, maybe 
you're different, but Jerry saves all kinds of junk — 
( Allan flinches at the word he himself had used.) 
— that he gets from girls because he thinks everyone 
he meets is crazy in love with him ! ( Allan is 
startled.) But, of course, he's young, he's only 
twenty-two and you're a whole lot older and you 
ain't got no queer notions like that ! Have you ? 

Allan. (Evading) Er — I — er — so he imagines 
every girl he meets is in love with him ? Ha ! ha ! ha ! 

Irene. Huh ! To hear him talk you'd think no- 
body else knew nothin' about women. Ha ! ha ! 
honest, Mr. Kemp, you'd laugh like sixty if you 
could hear Jerry tell the gang in our kitchen how he 
gets the girls to fall for him. Me and Ma have a 
swell time teasin' him about the way he sizes them 
up! It's awfully funny and it sounds great, but it 
don't always work. Jerry says everything depends 
on the first look a girl gives you ! 

Allan. (Hardly believing his ears — that some- 



i 4 THE ECLIPSE 

one else is using his pet theory) What ! He does ! 
Why I 

Irene. Yup! He says if she's afraid you gotta 
just talk gentle to her! 

Allan. Why, that's my 

Irene. If she's modest, be civil to her. If she 
pulls the Ritz, give her the go-by! 

Allan. Just like my 

Irene. If she's square, you can take her to a 
show and sit in the second balcony and she'll go 
50-50 on tickets and eats ! 

Allan. Equality! 

Irene. And if she gives you the vamp look — 
Jerry says 'hide your roll and start slow !' 

Allan. Ha ! ha ! ha ! Well — er — your brother 
is rather clever, isn't he? 

Irene. Clever, Mr. Kemp? He ain't clever ! It's 
only conceited men as talks that way about girls ! 

Allan. (Taken aback) Oh — er — you think so? 

Irene. Why — don't you ? 

Allan, Er— why, I don't— know. I— er— - 
haven't thought much about it, to tell the truth ! 

Irene. Hm ! It's all Jerry ever thinks about ! 

He (She spies a look of annoyance on Allan's 

face.) Oh, I guess I better let up talkin' about 
Jerry, I — I'm sorry, Mr. Kemp. I — anyway, what 
Jerry thinks ain't worth much, is it ? 

Allan. Oh — maybe not — maybe not! (He col- 
lects himself and turns to easel.) I wonder if you'll 
pose for the rest of this drawing, Irene ! You see 
I expect to leave early in the morning 

Irene. It's your honeymoon, isn't it, Mr. Kemp ? 

Allan. (Starting to work) Yes. My honey- 
moon. 

Irene. (Mounting stand to pose.) Will you send 
me a postcard, Mr. Kemp? I ain't never had one 
from there. 



THE ECLIPSE 15 

Allan. From where? 

Irene. Why, Niagara Falls, of course! 

Allan. Ha! ha! My dear child, I'm not going 
to Niagara Falls ! 

Irene. Oh ! I thought all honeymoons was 

Allan. It's a nice place for honeymoons if you 
like that kind of a place. I am going to Dominica 
in the British West Indies! 

Irene. Oh! that sounds so far away! 

Allan. Just a few days, that's all ! 

Irene. (Timidly, after a short pause) Mr. 
Kemp? 

Allan. (Working) Yes? 

Irene. (Again timidly) I — I wonder would you 
be willing to do me a favor ? 

Allan. (Busy) Why, I'd be glad to, Irene. 
What is it? 

Irene. It's about a letter — I want to write 

(She says this wistfully and pauses, not wanting to 
say too much.) 

Allan. A letter? 

Irene. Yes. I want to say something and I don't 
know how to write it or spell it and I want you to 
help me. 

Allan. Oh, I see ! Well, I guess we can fix it ! 
Er — tell me about the place that's troubling you! 

Irene. I — it's at the end ! I want to thank some- 
body for being so kind to me and I want them to 
know it's my heart that says it ! 

Allan. Oh — why, my dear you can tell her in 
just those words. Nothing could possibly be nicer! 

Irene. It's not a "her"— it's a "him." (Shyly.) 

Allan. Oh — well, wouldn't those words do just 
the same? 

Irene. (Quickly) Oh, no, sir! They've got to 
be grander! He — he's a real gentleman and he's 
used to grand words and I can't just say those — I 



16 THE ECLIPSE 

mean — I'll show you! Can I get down? I wrote 
the first part when I was on the lounge — I'll get it ! 
(She leaves the stand, goes to divan, gets letter, 
returns.) Here it is ! I'll read the start so's you 
can see ! (She reads.) "Dear wonderful you ! — 
Time was when I could not have addressed you with- 
out incurring your ex-cus-a-ble dis-ap-proval. But 
I take the liberty of doing so now, trusting to your 
generous acqui-acqueesance in the light of my love. 
Now that you are going it is with a deep desire of 
lasting friendship that I venture to tell you I shall 
miss you — always !" 

Allan. Irene! You didn't write that ! 

Irene. Oh, no, sir. That was in a story by Rob- 
ert W. Chambers. It's wonderful, isn't it? 

Allan. Yes — it certainly is — wonderful ! But 
I'm afraid it won't do for your letter, Irene. You 
see coming from you — er — it's too — elaborate. Your 
friend would suspect you — er — copied it ! 

Irene. But even if he did he wouldn't say nothin' 
— he's not that kind of a man ! 

Allan. He must be an unusual chap ! 

Irene. He is! 

Allan. I don't know him, by chance, do I ? 

Irene. (Timidly) Yes, sir. 

Allan. Er — what does he do? 

Irene. Well — he does kind things! 

Allan. So? I'm very glad of that. 

Irene. Yes, sir — no one's been so generous to me 
as him. 

Allan. You've never written him before? 

Irene. Oh, no ! I wouldn't write now but he — 
he's going away, to-morrow ! 

Allan. (Suddenly realizing sJie means him, puts 

down his brush) Going away ? Ha! — "and 

they all lift their sweet heads and bow!" 

Irene. What's that, sir? 



THE ECLIPSE 17 

Allan. Oh, nothing — I was just thinking — of 
flowers ! (He gets up and comes down stage.) You 
can get down now, dear, I've finished. 

Irene. Oh! May I see it? 

Allan. Why, yes, if you want to. 

Irene. (At easel) Oh! it's beautiful! 

Allan. (Smiling) It's you! 

Irene. Oh, I think you've flattered me ! 

Allan. Not in the least, my dear. (She comes 
down.) Now, about your letter— perhaps it will be 
all right to leave it as you've written it. When I 
come to think of it I'm sure he'll understand ! 

Irene. Oh, do you really think so ? 

Allan. I do. (Then to Reynolds, who has- just 
entered.) Er — Reynolds, will you get Irene's things ? 
We've finished! 

Reynolds. Yes, sir. That's fine. (He goes r. 
to hook where Irene's hat and jacket are hanging.) 
Then you're not displeased at my asking Miss Irene 
to stay, sir? 

Allan. No, indeed, Reynolds ! Quite the con- 
trary ! I am more than pleased — at the results ! 

Reynolds. That will be good news to Carter, 
sir! 

Allan. Carter? — er — oh, yes! Irene, Reynolds 
goes with me to-morrow — like to say good-bye to 
him? 

Irene. Oh ! 

Reynolds. (Holding up her jacket) We shall 
miss you, Miss Irene. I trust you will be very happy 
— as happy as you've made — others ! 

Irene. (Timidly, offering her hand) Thank you. 
Mr. Reynolds. You've been so nice to me. Good- 
bye! 

Reynolds. (As he gives her her hat) Good-bye, 
Miss Irene. (He exits r.) 

Irene. (Pauses a second, then turns to Allan, 



i8 THE ECLIPSE 

who is arranging paint brushes. She takes letter 
from bodice) Oh, Mr. Kemp, I wonder if you'd 
mind taking my letter and — and 

Allan. And mailing it? You haven't a stamp? 

Irene. I — I guess I'll be leaving! (She gives him 
the letter, which he shoves in his pocket ivithout 
looking at, ostensibly to avoid embarrassment for 
her.) 

Allan. I'll take good care of your letter. 

Irene. Thanks. I hope you'll have a lovely 
honeymoon down in Dom — Dom 

Allan. Dominica? 

Irene. Yes. It's harder- to remember than Niag- 
ara Falls ! 

Allan. Isn't it? 

Irene. (Offering her hand) Good-bye, Mr. 
Kemp ! 

Allan. (Tenderly taking her hand) Good-bye, 
my dear! (A short pause, then Irene goes out l.) 

Allan. (Waves to her as she goes out, turns and 
smiles to himself. He then palls out the letter and 
starts to open it, when he glances at the writing on 
the envelope. He starts and exclaims) "Reynolds ?'' 

Reynolds. (Enters quickly) Yes, sir? 

Allan. Huh? 

Reynolds. You called, sir? 

Allan. No. ( Reynolds turns to the brushes at 
the easel.) Oh — er — somebody left a note for you! 

Reynolds. (Taking the letter) Thank you, sir! 
(He sees the chagrin on Allan's face.) There's 
nothing wrong, sir? 

Allan. Just an eclipse of the sun, Reynolds. 
That's all ! (^Reynolds looks stupidly at him.) 

(CURTAIN) 



BILLETED. 

A comedy in 3 acts, by F. Tennison Jesse and H. Harwood. 4 
males, 5 females. One easy interior scene. A charming comedy, 
constructed with uncommon skill, and abounds with clever lines. 
Margaret Anglin's big success. Amateurs will find this comedy easy 
to produce and popular with all audiences. Price, 60 Cents. 



NOTHING BUT THE TRUTH. 

A comedy in 3 acts. By James Montgomery. 5 males, 6 females. 
Costumes, modern. Two interior scenes. Plays 2 x / 2 hours. 

Is it possible to tell the absolute truth — even for twenty-four hours? 
It is — at least Bob Bennett, the hero of "Nothing But the Truth,' 1 
accomplished the feat. The bet he made with his business partners, 
and the trouble he got into — with his partners, his friends, and his 
fiancee — this is the subject of William Collier's tremendous comedy 
hit. "Nothing But the Truth" can be whole-heartedly recommended 
as one of the most sprightly, amusing and popular comedies that this 
country can boast, Price, 60 Cents. 



IN WALKED JIMMY. 



A comedy in 4 acts, by Minnie Z. Jaffa. 10 males, 2 females (al- 
though any number of males and females may be used as clerks, 
etc.). Two interior scenes. Costumes, modern. Plays 2>2 hours. 
The thing into which Jimmy walked was a broken-down shoe factory, 
when the clerks had all been fired, and when the proprietor was in 
serious contemplation of suicide. 

Jimmy, nothing else but plain Jimmy, would have been a mysterious 
figurr had it not been for his matter-of-fact manner, his smile and 
his everlasting humanness. He put the shoe business on its feet, won 
the heart of the girl clerk, saved her erring brother from jail, escaped 
that place as a permanent boarding house himself, and foiled the 
villain. 

Clean, wholesome comedy with just a touch of human nature, just 
a dash of excitement and more than a little bit of true philosophy 
make "In Walked Jfmmy" one rf the most delightful of plays. 
Jimmy is full of the religion of life, the religion of happiness and 
the religion of helpfulness, and he so permeates the atmosphere with 
his "religion" that everyone is happy. The spirit of optimism, good 
cheer, and hearty laughter dominates the play. There is not a dull 
moment in any of the four acts. We strongly recommend it. 

Price, 60 Cents. 



MARTHA BY-THE-DAY. 

An optimistic comedy in three acts, by Julie M. Lippmann, author 
of the "Martha" stories. 5 males, 5 females. Three interior scenes. 
Costumes modern. Plays 2 x /\ hours. 

It is altogether a gentle thing, this play. It is full of quaint hu- 
mor, old-fashioned, homely sentiment, the kind that people who see 
the play will recall and chuckle over to-morrow and the next day. 

Miss Lippmann has herself adapted her very successful book for 
stage service, and in doing this has selected from her novel the most 
telling incidents, infectious comedy and homely sentiment for the 
play, and the result is thoroughly delightful. Price, 60 Cents. 

(The Above Ape Subject to Royalty When Produced) 
SAMUEL FRENCH, 28-30 West 38th Street, New York City 

New and Explicit Descriptive Catalogue Mailed Free on Request 



DOROTHY'S NEIGHBORS. 

A brand new comedy in four acts, by Marie Doran, author of "The 
New Co-Ed, " "Tempest and Sunshine," and many other successful 
plays. 4 males, 7 female?. The scenes are extremely easy to 
arrange; two plain interiors and one exterior, a garden, or, if neces- 
sary, the two interiors will answer. Costumes modern. Plays 2^ 
hours. 

The story is about vocational training, a subject now widely dis- 
cussed; also, the distribution of large wealth. 

Back of the comedy situation and snappy dialogue there is good 
logic and a sound moral in this pretty play, which is worthy the 
attention of the experienced amateur. It is a clean, wholesome play, 
particularly suited to high school production, Price, 30 Cents. 



MISS SOMEBODY ELSE. 

A modern play in four acts by Marion Short, author of "The 
Touchdown," etc. 6 males, 10 females. Two interior scenes. Cos- 
tumes modern. Plays 2*4 hours. 

This delightful comedy has gripping dramatic moments, unusual 
character types, a striking and original plot and is essentially modern 
in theme and treatment. The story concerns the advetures of Con- 
stance Darcy, a multi-millionaire's ycung daughter. Constance em- 
barks on a trip to find a young man who had been in her father's 
employ and had stolen a large sum of money. She almost succeeds, 
when suddenly all traces of the young man are lost. At this point 
she meets some old friends who ure living in almost want and, in 
order to assist them through motives benevolent, she determines tc» 
sink her own aristocratic personality in that of a refined but humble- 
little Irish waitress with the family that are in want. She not only 
carries her scheme to success in assisting the family, but finds 
romance and much tense and lively adventure during the period of 
her incognito, aside from capturing the young man who had defrauded 
her father. The story is full of bright comedy 4ines and dramatic 
situations and is highly recommended for amateur production. This 
is one of the best comedies we have ever offered with a large num 
ber of female characters. The dialogue is bright and the play is full 
of action from start to finish; not a dull moment in it. This is a 
great comedy for high schools and colleges, and the wholesome story 
will please the parents and teachers. We strongly recommend it. 

Price, JO Cents, 



PURPLE AND FINE LINEN. 

An exceptionally pretty comedy of Puritan New England, in three 

acts, by Amita B. Fairgrieve and Helena Miller. 9 male, S female 
characters. 

This is the Lend A Hand Smith College yrize play. It is an ad- 
mirable play for amateurs, is rich in character portrayal of varied 
types and is not too difficult while thoroughly pleasing. 

Price, 30 Cents. 

(The Above Are Subject to Royalty When Produced) 

|_Jlim«»Mmi«MUI|Jfl—IM^1^1MM—UL— !■■ ■■■Willi ■■■■■——» 

SAMUEL FRENCH, 28-30 West 38th Street, New York City 

New aid Explicit Descriptive Catalogue Mailed Free on Request 






The Touch-Down 

A comedy in four acts, by Marion Short. 8 males, 6 females, but 
any number of characters can be introduced in the ensembles. Cos- 
tumes modern. One interior scene throughout the play. Time, 2}£ 
hours. 

This play, written for the use of clever amateurs, is the story of 
life in Siddell, a Pennsylvania co-educational college. It deals with 
the vicissitudes and final triumph of the Siddell Football Eleven, and 
the humorous and dramatic incidents conBected therewith. 

"The Touch-Down" has the true varsity atmosphere, college songs 
are sung, and the piece is lively and entertaining throughout. High 
schools will make no mistake in producing this play. We strongly 
recommend it as a high-class and well-written comedy. 

Price, 30 Cents. 

Hurry, Hurry, Hurry 

A comedy in three acts, by LeRoy Arnold. 5 males, 4 females. 
One interior scene. Costumes modern. Plays 2 1 /^ hours. 

The story is based on the will of an eccentric aunt. It stipulates 
that her pretty niece must be affianced before she is twenty-one, and 
married to her fiance within a year, if she is to get her spinster 
relative's million. Father has nice notions of honor and fails to tell 
daughter about the will, so that she may make her choice untram- 
meled by any other consideration than that of true love. The action 
all takes place in the evening the midnight of which will see her 
reach twenty-one. Time is therefore short, and it is hurry, hurry, 
hurry, if she is to become engaged and thus save her father f rom 
impending bankruptcy. 

The situations are intrinsically funny and the dialogue is sprightly. 
The characters are natural and unaffected and the action moves with 
a snap such as should be expected from its title. Price, 30 Cents. 

The Varsity Coach 

A three-act play of college life, by Marion Short, specially adapted 

to performance by amateurs or high school students. 5 males 6 

females, but any number of boys and girls may be introduced in the 

..action of the play. Two settings necessary, a college boy's room and 

the university campus. Time, about 2 hours. 

Like many another college boy, "Bob" Selby, an all-round popular 
college man, becomes possessed of the idea that athletic prowess is 
more to be desired than scholarship. He is surprised in the midst of 
a "spread" in his room in Regatta week by a visit from his aunt 
who is putting him through college. Aunt Serena, "a lady of the old 
school and the dearest little woman in the whole world," has hastened 
to make this visit to her adored nephew under the mistaken impression 
that he is about to receive the Fellowes prize for scholarship. Her 
grief and chagrin when she learns that instead of the prize Robert 
has received "a pink card," which is equivalent to suspension for poor 
scholarship, gives a touch of pathos to an otherwise jolly comedy of 
college life. How the repentant Robert more than redeems himself, 
carries off honors at the last, and in the end wins Ruth, the faithful 
little sweetheart of the "Prem" and the classroom, makes a story of 
dramatic' interest and brings out very clearly certain phases of modern 
college life. There are several opportwnities for the introduction of 
college songs and "stunts." Price, 30 Cents. 

(The Above Are Subject to Royalty When Produced) 



SAMUEL FRENCH, 28-30 West 38th Street, New Yoffe City 

New and ExpHert Descriptive Catalogue Mailed Free os Request 



The Return of Hi Jinks 

A comedy in four acts, by Marion Short, author of "The Varsity 
Coach," "The Touch-Down," etc. 6 males, 8 females. Costumes 
modern. One interior scene. 

This comedy is founded upon and elaborated from a farce comedy 
in two acts written by J. H. Horta, and originally produced at Tuft's 
College. 

Hiram Poynter Jinks, a Junior in Hoosic College (Willie Collier 
type), and a young moving picture actress (Mary Pickford type), are 
the leading characters in this lively, modern farce. 

Thomas Hodge, a Senior, envious of the popularity of Jinks, wishes 
to think up a scheme to throw ridicule upon him during a visit of 
the Hoosic Glee Club to Jinks's home town. Jinks has obligingly acted 
as a one-day substitute in a moving picture play, in which there is a 
fire scene, and this gives Hodge his cue. He sends what seems to 
be a bona fide account of Jink's heroism at a Hoosic fire to Jink's 
home paper. Instead of repudiating his laurels as expected, Jinks 
decides to take a flyer in fame, confirms the fake story, confesses to 
being a hero and is adored! by all the girls, to the chagrin and dis- 
comfiture of Hodge. Of course, the truth comes out at last, but 
Jinks is not hurt thereby, and his romance with Mimi Mayflower 
comes to a successful termination. 

This is a great comedy for amateurs. It is full ef funny situations 
and is sure to please. Price, 30 Cents. 



J 



une 

A most successful comedy-drama in four acts, by Marie Doran, 
author of "The New Co-Ed," "Tempest and Sunshine," "Dorothy's 
Neighbors," etc. 4 males, 8 females. One interior scene. Costumes 
modern. Plays 2J4 hours. 

This play has a very interesting group of young people. June is 
an appealing little figure, an orphan living with her aunt. There are 
a number of delightful, life-like characters: the sorely tried likeable 
Mrs. Hopkins, the amusing, haughty Miss Banks of the glove depart- 
ment, the lively Tilly and Milly, who work in the store, and ambitious 
Snoozer; Mrs. Hopkins's only son, who aspires to be President of the 
United States, but finds his real sphere is running the local trolley 
car. The play is simplicity itself in the telling of an every-day story, 
and the scenic requirements call for only one set, a room in the 
boarding house of Mrs. Hopkins, while an opportunity is afforded to 
introduce any number of extra characters. Musical numbers may be 
introduced, if desired. Price, 30 Cents. 

Tempest and Sunshine 

A comedy drama in four acts, by Marie Doran. 5 males and 3 
females. One exterior and three interior scenes. Plays about 2 hours. 

Every school girl has revelled in the sweet simplicity and gentle- 
ness of the characters interwoven in the charms that Mary J. Holmes 
commands in her story of "Tempest and Sunshine." We can strongly 
recommend this play as one of the best plays for high school pro- 
duction published in recent years. Price, 30 Cents. 

(The Above Are Subject to Royalty When Produced) 
SAMUEL FRENCH, 28-30 West 38th Street, New York City 

New and Explicit Descriptive Catalogue Mailed Free an Request 



